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About this Title:

Beethoven was one of the great European classical composers of the first part of the 19th century. He was influenced by the Enlightenment and in his only opera, Fidelio, he addressed the problem of individual liberty in a very moving way.

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the action takes place at a fortress used for the confinement of political offenders, near seville, in spain

ARGUMENT.

Florestan, a noble Spaniard, a valued friend of Fernando, the Prime Minister, had, by his fearless exposure of the misdeeds of Pizarro, awakened the deadly hatred of the latter. This wretch was not without the means of gratifying his malignity. Being appointed the governor of a fortress, used as a place of confinement for political prisoners, he managed to get possession of the person of his enemy, circulated a report of his death, and immured him in the deepest and darkest of the state dungeons. Here the nobleman would have died, had it not been for the faithful love of his wife, Leonora, who did not believe him dead, suspected Pizarro, and finally, in the disguise of a young man, calling herself Fidelio, solicited and received employment from Rocco, head jailer under Pizarro. The youth made rapid headway in the affections of the old man, and also in those of his daughter, Marcellina, who quite neglected her rustic lover, Jaquino, for the gentle and polished stranger. Leonora, although pained at this, felt obliged to encourage the love of the girl, for the sake of her influence over the father; and they together so far prevailed upon him, that he consented to allow Fidelio to go to the more secret portions of the prison. They also begged, for the inmates of the outer cells, the privilege of spending a few hours in the sunshine of the court-yard. The prisoners, naturally, were overjoyed at this indulgence; but, after a short time, were ordered to confinement again by Pizarro, who harshly chided the jailer for his kindness.

Pizarro, just before, had received notice from a friend, that the Prime Minister was on his way to the prison. Should Fernando see Florestan, farewell to revenge. Something must speedily be done to avert the danger. Rocco is commanded to kill and bury the supposed criminal in the inner dungeon. He refuses to kill, but will dig the grave. Pizarro himself will dispatch the victim. Rocco, with Fidelio, accordingly repairs to the gloomy vault, where Florestan is discovered, but sleeping; and so dim is the light, that his agitated wife cannot be sure it is he. The two proceed to clear out an old cistern, which is to be the place of burial. Florestan awakes, and is recognized. Pizarro enters and is about to give the fatal blow, when, with a shriek, Leonora throws herself between the murderer and her husband. Her sudden avowal of her name causes a hesitation on the part of Pizarro, but he again raises the dagger, when he is confronted by a pistol, which points directly at his head. Florestan is saved; for, a moment after, the trumpets signal the arrival of Fernando. Pizarro is summoned to meet him. Rocco brings forth Florestan and his heroic wife, who has the gratification of unlocking and removing his hateful fetters. Other prisoners are released, and the occasion is one of full-measured joy to all, unless we except the jailer’s daughter, who is dismayed at the discovery of the real character and station of the pretty Fidelio. She, however, has the old love to fall back upon.

“Fidelio” was first given in 1805, at the Imperial house at Vienna, but was not at first a favorite. It was revised, and changed to its present form, and reintroduced to the public in 1814, since which time no opera has been more highly esteemed.

SCENE I.—

The Court-yard of the State Prison. In the background the principal gate: in it a wicket, with a gate to allow Foot-Passengers to pass singly. Near the gate the Lodge of the Porter. The side scene to the left of the Spectator represents the dwellings of the Prisoners. The windows have iron gratings, and the doors, which are numbered, strong bolts. In the front side scene is the door of the Turnkey’s dwelling. To the right, iron palings, which, together with a garden gate, indicate the entrance of the castle garden.

Marcellinadiscovered, ironing linen before her door;Jacquinoattending diligently to his door, which he opens to different Persons, who give him parcels to take into the Lodge.

If I have not answered that door two hundred times at least to-day, my name’s not Caspar Eustache Jacquino. [To Marcellina.] At last we are at liberty to speak freely. [Knocking.] The deuce! again so soon!

[He goes to open the door.

Mar.

What shall I do? I cannot even love him as I used.

Jac.

[To the person who has knocked, and shutting the door petulently.] That will do; I will attend. [Turning towards Marcellina.] Now I hope we shall have no more disturbers.

Roc.

[Calling from behind.] Jacquino! Jacquino!

Mar.

Do you not hear? my father calls.

Jac.

Well, let him wait a bit, while we finish our love affairs.

Mar.

No, no; go! Father may be wishing to enquire after Fidelio.

Jac.

[Jealously.] Oh, truly! and in that case one cannot be too quick.

Roc.

[Calling again.] Jacquino! dost thou not hear me?

Jac.

[Loudly.] Coming! [To Marcellina.] Do not go now, I pray thee—in two minutes I shall be back again.

SCENE II.—: Marcellina,alone.

Mar.

I cannot but feel for poor Jacquino. From my compassion for him I learn how dearly I love Fidelio, and he equally loves me, I hope. How soon might my happiness be complete, if my father were not against our union.

SCENE IV.—: EnterLeonora,asFidelio.She carries a basket with provisions, and on her arm fetters, which she deposits on the ground. At her side a tin box hangs by a ribbon.

Mar.

[Running to Leonora] How he is laden! Good heavens! the perspiration streams from his forehead.

[She tries, with her handkerchief, to dry Leonora’s face.

Roc.

Oh, stay, stay!

[He helps, with Marcellina, to remove the basket from her back.

Jac.

[Aside.] It was worth the trouble, certainly, to run so quickly to let my gentleman in!

[Goes into his Lodge, but soon comes out again; pretends to be busy, but is in fact watching the others.

Roc.

My poor Fidelio! this time thou hast somewhat overladen thy-elf.

Leo.

[Advancing, and wiping her face.] I must confess I am a little wearied.

Roc.

How much have these things cost?

Leo.

About twelve piastres; here is the account.

Roc.

[Looking through the account.] Good! capital! By all that’s good, here are articles by which we shall at least make cent per cent. [Aside.] The rogue plainly gives himself all this trouble on account of my Marcellina.

Leo.

I wish to do all I can.

Roc.

Yes, yes, thou’rt a good fellow! I like thee better and better, and be assured thou shalt meet thy reward.

He casts, during the last words, alternate glances at Leonora and Marcellina.

Leo.

[Embarrassed.] Oh! believe not that I do my duty from interested motives

Roc.

[With glances as before.] Hush! think’st thou I cannot see into thy heart?

[He appears to enjoy the increasing embarrassment of Leonora, and then goes aside to look at the fetters. Meanwhile Marcellina regards Leonora lovingly, and with increasing emotion..

It is right enough in you to say this, Master Rocco. But there is something else more precious in my esteem, which with sorrow I perceive all my exertions cannot gain.

Roc.

And what is that?

Leo.

Your confidence. Pardon me the reproach, but I often see you return quite out of breath from the subterranean vaults of the castle. Why do you not allow me to accompany you? It would be delightful to me if I could go with you, and share your toils.

Roc.

But thou knowest the strict orders imposed on me. I am not permitted to allow access to any one of the state prisoners.

Mar.

But there are far too many of them in this fortress. And, dear father, you will work yourself dead.

Leo.

She is right, Master Rocco. One must certainly do one’s duty, [tenderly,] but it is allowable, I believe, to spare oneself a little for those who belong to us and love us.

[Grasping his hand.

Mar.

[Pressing Rocco’s other hand.] One must try, for the sake of one’s children.

Roc.

[Affected, looking at them both.] Well said, my children: this hard work is becoming over much for me. The Governor, it is true, is very strict; but he must allow me to take you with me into the secret dungeons.

[Leonora manifests a lively expression of joy.

There is one dungeon, however, Fidelio, into which I must not take you.

Mar.

Probably it is there the prisoner is confined of whom thou hast so often spoken, father?

Roc.

Thou hast guessed it.

Leo.

[Inquiringly.] I think he has been a long time imprisoned?

Roc.

Somewhat more than two years.

Leo.

[Impetuously.] Two years, do you say? [Collecting herself.] He must be a great criminal, then?

Roc.

Or—he must have great enemies: that amounts to the same thing.

Mar.

Is no one able to tell his name, or whence he comes?

Roe.

Oh! how often has he wished to speak with me of all that!

Leo.

Well?

Roc.

For people in our position, it is best to know as few secrets as possible. [Mysteriously.] However, he will not trouble me much more—he cannot last much longer.

Leo.

[Aside.] Great God!

Mar.

Do not take Fidelio to him, father dear: it is a sight he could not bear.

Leo.

Oh! fear me not. Doubt not my courage or my strength.

Roc.

[Tapping her on the shoulder.] Bravo! very fine! If I were to tell thee how I had to struggle with my heart in my early days, I should make thee weep; and I was quite a different fellow from thee, with thy soft skin and delicate hands.

SCENE V.—: Rocco, Pizarro,Officers, Guards.—During the March, the principal door is opened from without. Officers enter with a detachment of Troops, thenPizarro.The gate is shut again.

Piz.

[To the Officer.] Three guards on the wall, on the draw-bridge six, day and night, as many within the garden; and every one that approaches the trench, let him be brought before me. [To Rocco.] Has anything fresh occurred?

Roc.

No, signor.

Piz.

Where are the despatches?

Roc.

Here they are.

[Takes letters out of the tin box.

Piz.

[Opens the papers, and looks through them.] More recommendations! more reproaches! were I to attend to Edition: current; Page: [11] these things, I should never be at rest. Ah! what do I see? methinks I know this hand—let’s see.

[He opens the letter and advances. Rocco and the Guards recede.—Reads.

“I give you information that the Minister has learned that the state prisons over which you preside contain several victims of arbitrary power. He sets out to-morrow to surprise you. Be on your guard, and endeavor to keep yourself right.”

Ah! if he discover that I have this Florestan lying in chains, whom he thinks dead long since! A bold deed can—and shall—dissipate all my anxieties!

[To the Officer, speaking in a low voice.] Captain, take with you the trumpeter, and ascend the tower: there look out along the road to Seville. As soon as you see a cavalier with noble escort, give instantly a signal. Away! and mind your orders! Neglect them, and your head shall be the forfeit.

[Exit Captain.

Away! [To the guards.] Every one to his post.

[Exeunt.

Rocco!

Roc.

Signor.

Piz.

[Looking at him steadfastly for a short time.—Aside.] ’Tis useless to hesitate—without his aid I shall never accomplish my object. Rocco, come nearer.

SCENE VII.—: Marcellinaenters from the House followed byJacquino.

Jac.

But, Marcellina!

Mar.

Not a word—silence! I do not wish to hear another word of your silly love-sighs and nonsense.

Jac.

Why did you not say as much when first I took it into my head to fall regularly in love with you? Then I had none of your rebuffs and snubbings;—then I was your dear Jacquino: But the moment this Fidelio—

Mar.

[Interrupting him.] Very true. I liked thee at first, or I fancied so—I may as well be frank and open with thee. But, since Fidelio has been among us, my mind has changed: for him I feel much more liking and sympathy.

Jac.

What! for a young vagabond who comes—God knows whence; and whom your father housed in charity; who—who—

Mar.

[Angrily.] Who is poor and deserted, and shall be my spouse, notwithstanding.

Jac.

And do you imagine that I will suffer it? No, no, believe me. If ever I catch you together, you shall see what I will do.

SCENE VIII.—: EnterRoccoandLeonorafrom the Garden.

Yes, signor; and if she will not love me, she shall at least marry me; and I—

Roc.

Hold your tongue, sirrah! Ah! think you I have brought up my only daughter [Patting Marcellina’s cheek,] with parental care, increasing with her years, till she has seen her sixteenth summer, for such a gentleman as you? Ha! ha! [Laughing at Jaquino.] No, Jaquino. But weighty matters now engage my mind.

Mar.

I understand, dear father. [Tenderly.] Fidelio!

Leo.

Enough of this. Rocco, often I have begged of you to allow the poor prisoners, in this dismal cell immured, to come and breathe the pure air of this garden. Though often promised, you have never yet done it. To-day the weather is so beautiful! The Governor never comes at this time of day.

Mar.

Oh yes, I too ask it.

Roc.

Without permission of the Governor? My dear children—

Mar.

But he was talking with you so long: perhaps he was asking a favor?—In that case, he could not be very particular.

Roc.

A favor? Well guessed, Marcellina. I think I may venture. Jacquino and Fidelio, you may undo the door. I’ll to Pizarro, and with conversation on your behalf, [sympathetically, to Marcellina,] occupy him.

Mar.

[Kisses his hand.] Oh, blessings on you, father dear!

[Exit Rocco.

[Leonora and Jacquino open the Prison-doors, then withdraw with Marcellina to the background, and watch with interest the Prisoners, as they gradually enter

SCENE I.—: A dark subterranean Dungeon. To the left a cistern or reservoir, covered with stones and rubbish. In the background, several openings in the wall, guarded with gratings, through which can be seen the steps of a staircase, leading from above. To the right, the doo into the Prison. A lamp hanging.

[Florestan,alone. He sits on a stone: round his body is a long chain, the end of which is fastened to the wall.

SCENE II.—: Rocco, Leonora, Florestan.The two former, who have been seen through the openings coming down the stairs, carry a pitcher and implements for digging. The back door opens, and the Stage is half lighted.

Leo. [In an under-tone.]

Oh, how freezing told it is in this dismal vault!

Rok.

Natural enough in a place so subterranean

Edition: current; Page: [18]

Leo.

[Looking on every side in agitation.] I thought we should never find the entrance.

Roc.

[Turning towards Florestan’s side.] Silence! the prisoner is there.

Leo.

[With a broken voice, seeking to recognize him.] In what a state!—unconscious, motionless!

Roc.

Perhaps he is dead!

Leo.

Dost think so?

Roc.

No, no; he only sleeps. The moment is propitious. Give me your hand. Let’s to our work—we have no time to lose.

Leo.

[Aside.] It is impossible to distinguish his features: If it be he, oh God, help me.

Roc.

Here, under this rubbish, is the cistern of which I have spoken. It will not take us long to reach the opening. Give me the pickaxe, and stand thou there. Thou tremblest!—of what art thou afraid?

Duet.

[During the Symphony, Leonora takes advantage of the moment when Rocco stoops, to observe the Prisoner. The Duet is sung in an undertone.

Roc. [While at work.]

Work quickly—dig away;

Pizarro will be here ere long.

Leo. [Also working.]

My zeal and labor, I hope, will please you.

I feel not fatigue.

Roc.

[Lifting a stone at the spot where he descended.]

Come, help me to raise this stone;

Lift up—a little more—it is very heavy.

Leo.

I am lifting with all my might;

I do not spare.

Roc.

Try again.

Leo.

Alas!

Roc.

So—it yields.

Leo.

But little.

Roc.

It is not light.

[They roll the stone aside, and stop a moment to fetch breath.—Beginning again.

Let’s get on quickly—we must dig away:

Pizarro will be here ere long.

Leo.

Oh, trust in me! zealously I’ll work;—

I feel my strength returning.

[Looks at the Prisoner whilst Rocco, at his work, is turned from her.—in an undertone.

Ah! whoever the unhappy one may be,

No weapon shall smite him!

No, no: this feeble hand, I hope,

Will restore him to his liberty.

Roc. [Starting up quickly.]

What are you loitering about?

Leo.

No, father, I’m not idling.

Roc.

Let’s get on quickly—we must dig away:

Pizarro will be here ere long.

Leo.

Oh, trust in me! zealously I’ll work;—

I feel my strength returning. [Rocco drinks.

[Florestan raises his head, but does not turn towards Leonora.

Leo.

He is waking]

Roc.

[Ceasing to drink.] He awakes, sayst thou?

Leo.

[In the greatest confusion, her eyes fixed on Florestan.] Yes, yes; he has just raised his head.

Roc.

Doubtless, he will again put a thousand questions to me. I must speak with him alone. Well, it will soon be all over with him. [Gets up out of the grave.] Go you Edition: current; Page: [19] down, and clear away the earth, nstead of me till you get the cistern open.

Leo.

[Trembling, descends a step or two.] Who now could tell what within my bosom is passing!

Roc.

[To Florestan.] Well, friend, are you again losing your cares in repose?

Flo.

Repose! where can I find it?

Leo.

[To herself.] That voice!—O, if I could only see his face for an instant!

Oh! if it be possible, let a messenger go to Seville, and there seek Leonora Florestan

Leo.

Little does he think, oh God! that she is now digging his grave!

Flo.

Tell her that I lie here in chains.

Roc.

It is not possible. It would ruin me, and nothing better you.

Flo.

Well, if here I am to die, let me not so slowly linger to my end.

Leo.

[Springing to her feet, then restraining herself.] Oh, God! who this torture can endure?

Flo.

Oh! for pity’s sake, to bathe my parched lips, give me a drop of water! a small favor that is to ask!

Roc.

[Aside.] My heart he touches, in spite of myself.

Leo.

[Aside.] He seems to soften.

Flo.

Thou dost not answer me.

Roc.

What you require I cannot procure: all that I can offer is the little wine I have remaining.

Leo.

[Bringing the wine in great haste.] There it is—there it is.

Flo.

[Looking at Leonora.] Who is he?

Roc.

At present my assistant; a few days hence to be my son-in-law. [Hands the pitcher to Florestan, who drinks.] There is but little wine, I see; but what there is you’re welcome so. [To Leonora.] How agitated thou art!

Leo.

[In the greatest embarrassment.] Who would not be so? You yourself, Master Rocco—

[She feels herself drawn towards Florestan, and strives to overcome the impulse.] My whole heart yearns towards him. [To Florestan.] Be composed, I beg you. Do not forget, whatever you may hear and see, that there is a Providence over all! Yes, yes, there is a Providence over all.

[Pizarro rushes away, giving Rocco a sign to follow him. The latter avails himself of the opportunity to grasp the hands of Leonora and Florestan, presses them to his bosom, points to Heaven, and then hasting after him.

SCENE VI.—: The same.—EnterRocco.

Roc.

Good news! my poor sufferers! The Minister has a list of all of you, who are forthwith to appear before him. [To Florestan.] You are not named. Your imprisonment has evidently been unknown to the Minister, and is a stretch of arbitrary power, no doubt. Come, follow me all, follow me!

SCENE VII.—: Parade before the Castle. Enter the Guard, marching; then the Minister,Don Fernando,accompanied on one side byPizarroand Officers. The People crowd around. On the other side appear the State Prisoners, accompanied byJacquinoandMarcellina.—They all throw themselves on their knees before Don Fernando. AfterwardsRocco,withFlorestan,press through the Guard and the People.